dont leave me high
dont leave me dry
d e v o n
official daine visual archive
cherry valley forever
Monterey Bay Aquarium

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almost home

tannertan36
taylor price

oozey mess
Cosmic Funnies
let's talk about Bridgerton tea, my ask is open

blake kathryn
NASA
Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă
he wasn't even looking at me and he found me
EXPECTATIONS
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Claire Keane
we're not kids anymore.

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@culpenalgato
dont leave me high
dont leave me dry
people: why do you always wear black?
me: tengo, tengo la camisa negra, porque negra tengo el alma
esa sensaciĂłn de destruir todo alrededor,
inevitablemente.
French anti-capitalist posters produced following the May 68 Paris uprising
#21 Bigmouth Strikes Again - Placebo
Las metĂĄforas son eficientes en la medida en que se alejan del objeto a que aluden. La mĂĄs cercana es la no-metĂĄfora, la simple reproducciĂłn del objeto: âEl pĂĄjaro es como el pĂĄjaroâ es, desde luego, una proposiciĂłn correctĂsima, hasta el punto que es inservible. La identidad da un efecto cero.
La metĂĄfora es Ăștil precisamente porque representa algo distinto. Pero no totalmente distinto; lo que quiere decir que hay un nĂșcleo comĂșn, hundido y oculto por los atributos exteriores; y tanto mĂĄs alejada es la metĂĄfora, menor es el nĂșmero de atributos comunes y mĂĄs profundo es, por lo tanto, el nĂșcleo idĂ©ntico. De ahĂ ese poder de alcanzar esencias profundas que tiene la poesĂa.
ExtraĂdo de âUno y el universoâ (1945) - Ernesto Sabato
âClair de Luneâ - Claude Debussy
âAfter another momentâs silence she mumbled that I was peculiar, that that was probably why she loved me but that one day I might disgust her for the very same reason.â - Albert Camus, The Stranger
What goes in must come out Spinninâ wheel got to go âbout Talkinâ 'bout your troubles itâs a cryinâ sin Ride a cotton pony let the spinninâ wheel spin
The Illustrated Encyclopedia of Sex  1950
this mind hides so many stuff youâll never decode
and if you do, iâm pretty sure you couldnât handle it.
hipomaniac talking
Yo canto una canciĂłn de luto. PĂĄjaros negros sobre mortajas negras.
Alejandra Pizarnik